Reading my friend Jane Eisner’s wonderful new biography of Carole King, I learned about the Brill Building, which sits at 49th and Broadway in Manhattan and, in the 1960s, was the center of the American pop music world. There was King herself, of course, but reading through the list of songwriters and bands that centered around the building one gets the sense of just how extraordinary a place it was: Paul Simon, Burt Bacharach, Neil Sedaka, Neil Diamond, Sonny Bono, Liza Minnelli, Dionne Warwick, and many many more.
(A plug: I’ll be doing a public book talk with Jane on October 23, a couple of weeks before we start teaching our IJS online course “Don’t Turn Away: Reading the News Without Losing Your Mind,” which begins November 3.)
One of the writers at the Brill Building not on the Wikipedia list is Fred Neil, whose song “Everybody’s Talkin'” was made famous by Harry Nilsson, whose version was featured in the 1969 movie “Midnight Cowboy,” and then again in “Forrest Gump” (1994). The song has been covered by over 100 other artists, from Stevie Wonder to Leonard Nimoy (!). (My personal favorite is sung by Jacqui Abbott with the English band The Beautiful South.) Here are its opening words:
Everybody’s talkin’ at me
I don’t hear a word they’re sayin’
Only the echoes of my mind
People stoppin’, starin’
I can’t see their faces
Only the shadows of their eyes
On one level, of course, this is just excellent social commentary. Already by 1966, when Neil wrote the song, the modern world had produced such a cacophony for so many people that millions of Americans could identify with this sentiment. There was just so much noise in modern life, and people understandably longed for some kind of escape:
I’m goin’ where the sun keeps shinin’
Through the pourin’ rain
Goin’ where the weather suits my clothes
Bankin’ off of the northeast winds
Sailin’ on a summer breeze
And skippin’ over the ocean like a stone
Of course, the cacophony only feels like it has grown louder since. When I get on public transportation or an airplane these days, I, like so many others, pop in my noise-cancelling headphones to listen to a podcast, or a guided meditation, or, yes, this very song. Everybody seems to be talkin’ at me—in spoken words and flashing ads and emails and social media and notifications—and I just want to mentally take myself to a place where the sun keeps shining, skipping happily over the noisy ocean like a stone.
Yet Fred Neil knew, as you and I do, that simply escaping the noise isn’t really what we’re really trying to do. What I really want to do—and I expect you, as well—is hear our own voice. As the song’s first words say, it can often feel like we’re hearing only the echoes of our minds—but not the voice of our mind itself. In order to do that, we have to get quiet. And while escaping to someplace less noisy certainly helps with that, it’s no guarantee. Getting quiet is one thing; hearing the still, small voice within us is another.
The seventh Mishnah of the third chapter of tractate Rosh Hashanah reads as follows (based on Koren/Steinsaltz emended translation):
If one sounds a shofar into a pit, or into a cistern, or into a large jug: if they clearly heard the sound of the shofar, they have fulfilled the mitzvah; but if they heard the sound of an echo, they have not fulfilled the mitzvah. And similarly, if one was passing behind a synagogue, or their house was adjacent to the synagogue, and they heard the sound of the shofar… if they focused their heart, i.e. they established an intention to fulfill the mitzvah, they have fulfilled it; but if not, they have not fulfilled it. (It is therefore possible for two people to hear the shofar blasts, but only one of them fulfills the mitzvah.) Even though this one heard and also the other one heard, nevertheless, this one focused their heart to fulfill the mitzvah and has therefore indeed fulfilled it, but the other one did not focus their heart, and so has not fulfilled it.
There would seem to be two related big ideas here. The first is that, in order to fulfill the mitzvah of hearing the sound of the shofar we have to make sure we’re hearing the actual sound and not an echo. Yet stop and think about that for a moment: How do we know what the “actual” sound is? Sound reverberates off the wall, the ceiling, the floor. Unless our ear is right up against the shofar, aren’t we always taking in some aspect of the sound that isn’t “pure?” (And even then: If our right ear is next to the shofar, our left is still picking up sounds that have reverberated around the room.) What is the voice, and what is the echo?
Perhaps the Mishnah is thus already inviting us to a broader conception of “hearing”—one that isn’t strictly limited by physical dimensions, and thus also opens up broader potential meanings. Thus the second, related, idea in the Mishnah: To truly fulfill the mitzvah of the shofar, it’s necessary to engage in kivvun halev, directing the heart. While the Talmud debates whether or not, in general, doing mitzvot requires intention, in the case of hearing the sound (literally the kol, the “voice”) of the shofar, it certainly does.
What does it take to direct our hearts? For some it might be pausing before the shofar blasts to make a mental note: “I’m experiencing these blasts in order to fulfill the mitzvah.” But I would suggest there is a more expansive opportunity for us if we choose to take it.
The language the Mishnah uses, here and elsewhere, to describe one who has fulfilled a mitzvah is yatzah yedei chovato, which literally translates to “has left the grip (yad/hand) of one’s obligation,” or, in abbreviated form, simply yatzah, “has left.” There is motion here, an act of leaving, of going somewhere. On one level, of course, it’s leaving the state of still being obligated to fulfill the commandment of hearing the shofar: once we’ve heard it, we have discharged the obligation, and thus “left.”
But on a deeper level, I think there’s an invitation here to transcend the noise-drenched world in which we live, to go deeper, to go inward. In the voice of the shofar we can, for a moment, leave the cacophonous din of this world and hear other kolot, other voices: The voice of the Divine that called to us at Sinai and, according to the Talmud, still calls to us every day; the still small voice that remains after the storm (to borrow from I Kings 19); the voices of joy and delight, of brides and grooms, in a comforted and spiritually renewed world (Jeremiah 33:11).
“The Torah is not in heaven,” Moses tells us, “nor is it across the ocean… It is on your lips and in your heart that you may do it” (Deuteronomy 30:12-14). Already in Moses’s time, it feels like the world could be a noisy place. It certainly is today. It often feels like so much work to attune to the genuine signals amidst the haze of so many siren songs. The shofar is our people’s ancient spiritual technology for cutting through the noise. This year, may we direct our hearts to hear it, to sense its vibrations deep inside. May the voice of the shofar help us attune to the compassionate, loving Divine voice within each of us.